De nombreux édicules appelés Animitas, souvent modestes mais parfois monumentaux, se remarquent au Chili, dans les villes et le long des routes, souvent en position incongrue eu égard aux logiques rationalistes qui prévalent désormais dans la gestion des territoires. Ils commémorent des décès tragiques, naturels ou violents, intervenus sur l’espace public. Élevés sans autorisation, dépourvus de statut laïc ou religieux, ils n’en tiennent pas moins un rôle majeur dans la perception et les pratiques populaires de l’espace, qu’ils viennent sacraliser sous diverses formes, sans contrarier la vie quotidienne. Les rares tentatives pour les détruire ou les déplacer ont échoué ou se sont avérées d’authentiques traumatismes, tant les Animitas contribuent à l’appropriation des lieux et à l’instauration d’une relation avec l’invisible recherchée par une grande partie de la population. Dès lors, on est fondé à s’interroger sur la manière dont l’urbanisme peut traiter un tel phénomène. Peut-il intégrer ces édicules imprévus et les pratiques afférentes, en tirer des servitudes ou des directives ? Peut-il, dans un état laïc et dans un droit fondé sur la raison, contrevenir à la fonctionnalité pour instaurer une approche socio-spirituelle ? La recherche a d’abord consisté à inventorier largement les Animitas du Chili, puis à s’attarder spécialement sur celles de Valparaiso, qui ont fait l’objet d’un recensement exhaustif. Ce matériau a permis de construire des typologies qui ont été confrontées au contenu d’entretiens réalisés auprès de constructeurs d’Animitas et de pratiquants. Ce qui a conduit à préciser les conditions de leur édification, de leur élévation à certains statuts et de leur évolution. Cette partie du travail a mis en évidence le recyclage de certaines croyances et pratiques pré-hispaniques ; elle a également permis d’esquisser des catégories d’où ont été tirées quelques hypothèses sur la stabilité du phénomène et la nécessité de le prendre en considération dans la gestion des villes contemporaines et du territoire chiliens. / In Chile, Many aedicule called Animitas, often small but sometimes monumental, stand out in towns and along roads, often incongruous position with regard of the Rationalist logic that now prevail in the management of the territories. They commemorate tragic, natural or violent deaths occurred in public spaces. Built without permission, without secular or religious status, they did hold no less a major role in perception and popular practices of space, that they come to sanctify in various forms, without antagonizing the daily life. The few attempts to destroy them or move them have failed or proved authentic trauma, because the Animitas contribute to the ownership of the premises and the establishment of a relationship with the invisible sought by a large part of the population. Therefore, it is entitled to wonder about how town planning can treat such a phenomenon. Can integrate these unforeseen aedicule and related practices, to obtain easements or guidelines? Can, in a secular State and a right based on reason, contravening the functionality to create a socio-spiritually approach? Research has consisted firstly to be widely sampled the Animitas of Chile, then to focus specifically on those of Valparaiso, which were the subject of a comprehensive census. This material has allowed to build typologies that were confronted with the contents of interviews from manufacturers of Animitas and practitioners. What led to the conditions of their building, their elevation in some articles and their evolution. This part of the work highlighted the recycling of certain beliefs and pre-Hispanic practices; It also helped to outline categories were fired a few assumptions about the stability of the phenomenon and the need to take into account in the management of contemporary cities and the Chilean territory.

Esta tese representa uma contribuição ao estudo da arquitetura residencial paulistana produzida no período entre as Grandes Guerras. Com base em uma amostra de projetos sorteados de residências, constantes nos processos de aprovação de construção sob a guarda do Arquivo Geral da Prefeitura do Município de São Paulo (Piqueri), analisa as inovações técnicoconstrutivas, os programas de necessidades e o repertório formal e estilístico empregados nas residências paulistanas das décadas de 20 e 30, enfocando particularmente as de classe média. Examina o quadro econômico, social, cultural e urbano existente na cidade de São Paulo no entre-guerras. Caracteriza os modelos estilísticos em voga nos anos 20 e 30 - o Neocolonial, em suas duas versões, e o Art Déco - refletindo acerca das mudanças de gosto, de comportamento e das influências estilísticas da arquitetura erudita sobre aquela popularizada na classe média. Revela o surgimento de uma nova linguagem estilística, o \"Maneirismo Paulistano\", e identifica um \"Estilo Indefinido\", também significativo na composição do panorama urbano da cidade de São Paulo desse período. / This thesis represents a contribution to the study of São Paulo\'s residential architecture in the period between the Wars. Based on samples of residential projects, appeared in the construction approval processes at General Archive of São Paulo\'s Municipal Government (Piqueri), it analyses the technical and constructive innovations, the necessity programs and the formal and stylistic repertoire used in São Paulo\'s homes in decades of 1920 and 1930, focusing specially the middle class. This work examines the economic, social, cultural and urban situation at São Paulo by that time. It characterizes the stylistic models in the twenties and thirties - the Neocolonial, in its two versions, and Art Déco - reflecting the changes in stylistic preferences, behaviours and erudite\'s influences over the popular architecture. It reveals the appearance of a new stylistic language, the \"Maneirismo Paulistano\", and identifies an \"Undefinied Style\", also significant in the composition of São Paulo\'s urban context in that period.

Esta tese representa uma contribuição ao estudo da arquitetura residencial paulistana produzida no período entre as Grandes Guerras. Com base em uma amostra de projetos sorteados de residências, constantes nos processos de aprovação de construção sob a guarda do Arquivo Geral da Prefeitura do Município de São Paulo (Piqueri), analisa as inovações técnicoconstrutivas, os programas de necessidades e o repertório formal e estilístico empregados nas residências paulistanas das décadas de 20 e 30, enfocando particularmente as de classe média. Examina o quadro econômico, social, cultural e urbano existente na cidade de São Paulo no entre-guerras. Caracteriza os modelos estilísticos em voga nos anos 20 e 30 - o Neocolonial, em suas duas versões, e o Art Déco - refletindo acerca das mudanças de gosto, de comportamento e das influências estilísticas da arquitetura erudita sobre aquela popularizada na classe média. Revela o surgimento de uma nova linguagem estilística, o \"Maneirismo Paulistano\", e identifica um \"Estilo Indefinido\", também significativo na composição do panorama urbano da cidade de São Paulo desse período. / This thesis represents a contribution to the study of São Paulo\'s residential architecture in the period between the Wars. Based on samples of residential projects, appeared in the construction approval processes at General Archive of São Paulo\'s Municipal Government (Piqueri), it analyses the technical and constructive innovations, the necessity programs and the formal and stylistic repertoire used in São Paulo\'s homes in decades of 1920 and 1930, focusing specially the middle class. This work examines the economic, social, cultural and urban situation at São Paulo by that time. It characterizes the stylistic models in the twenties and thirties - the Neocolonial, in its two versions, and Art Déco - reflecting the changes in stylistic preferences, behaviours and erudite\'s influences over the popular architecture. It reveals the appearance of a new stylistic language, the \"Maneirismo Paulistano\", and identifies an \"Undefinied Style\", also significant in the composition of São Paulo\'s urban context in that period.

O amor pela cidade e o interesse em conhecer a história de seus trabalhadores e de suas casas foi o que me motivou a fazer esta pesquisa. A formação dos bairros e a própria expansão urbana de Santo André têm fortes laços com o processo de migração de operários que vieram, principalmente, do interior de São Paulo e estados vizinhos, os quais buscavam aqui emprego e traziam consigo os costumes do campo para se adaptarem à nova vida na cidade. Assim, este trabalho se propõe a estudar as moradias urbanas de Santo André da primeira metade do século XX, enfocando a casa do trabalhador industrial, buscando traçar um panorama que permeia desde a produção da habitação e o espaço urbano ao seu entorno até os aspectos formais e funcionais da moradia, bem como sua organização e disposição interna. O trabalho também apresenta o resultado de uma pesquisa inédita feita em um material que se encontra arquivado no Museu de Santo André onde, através da análise de documentos e de processos de aprovação de residências entre os anos de 1929 e 1939, são estudados projetos arquitetônicos e memoriais descritivos originais de construções de residências, o que nos deu base para expor o que chamamos aqui de arquitetura popular que se configurou em toda a cidade, dentro e fora do espaço da casa. / The love by city and interest about knowing the history of its workers and their houses has motivated me to do this research. The neighborhoods formation and Santo André urban expansion itself have strong links with the migration of workers who came especially from São Paulo country side and neighbor states, witch looked for job and brought with them costumes from the country side to adapt to the new city life. So, this work proposes to study Santo André urban houses from the beginning of the twentieth century, focusing in the industrial worker house, trying to trace a panorama that ranges since the habitation production and surrounding urban space until its formal aspects, organization and interior disposal as well. This work also presents the result of an unedited research done with a material kept in Santo André Museum in which, trough documents and houses approval process between 1929 and 1939, architecture projects and original descriptive memorials of houses constructions are studied, what gave us base to expose what we call popular architecture, that has been configured in entire city, inside and outside the house space.

One of the most striking examples of popular architecture in the North-East of Brazil is the ¨meia morada¨ house [a small Dutch-style house with a single door and two windows]. It belongs to an architectural style that has existed for centuries and still characterizes the urban configuration of towns that are situated in the interior of several states in the North-East. For the purposes of this study, the town of Quebrangulo has been chosen as a benchmark. It has 11 thousand inhabitants and is located in the wild landscape of the State of Alagoas. Within a passage taken from this research study, some houses were chosen that have been inhabited by traditional families who have remained there since the time they were first built. Thus they have accompanied the aging of those who dwell in them. Comforted and warmed by a wide array of decorative and religious objects, they are impregnated with the household experiences that underline the value of their faith and memories. By becoming acquainted with these houses through empirical observation and the narrative accounts of their residents, the researchers carried out an investigation into the ways they are inhabited, giving priority to the affective relationships that are established by the inhabitants within the spaces they occupy. This study is divided into three parts: the first examines the town of Quebrangulo; the second entails a close examination of the houses which form the passage that has been discussed in the current literature on the subject. The aim of this is to understand how these buildings appear in the setting of Quebrangulo; the third part is an attempt to get to know these houses from inside and to understand their dynamics. These different parts involved exploring the domestic surroundings in greater depth so that they could be seen in guided visits conducted by the residents themselves: the living-rooms, passages, bedrooms, kitchens and gardens. Prominence was given to reflecting on how religious feelings play a part in the dwellings examined in this study. / Dentre as várias manifestações da arquitetura popular no Nordeste, destacam-se as casas de meia morada, tipologia arquitetônica que atravessa séculos e ainda hoje marca a configuração urbana das cidades interioranas de vários estados nordestinos. Para este estudo, foi tomada como referência a cidade de Quebrangulo, que tem pouco mais de 11 mil habitantes e fica localizada no agreste do estado de Alagoas. Dentro do recorte coberto pela pesquisa, foram elegidas casas habitadas por antigas famílias que ali permanecem desde a sua construção. Assim, elas acompanham o envelhecimento de seus moradores. Acalentadas por um acúmulo de objetos decorativos e religiosos, tangenciam experiências de habitar em que ganham destaque a fé e a memória. Acessando estas casas por meio da observação empírica e das narrativas dos seus moradores, investigou-se as maneiras como são habitadas, privilegiando as relações afetivas que as pessoas estabelecem com o espaço por elas habitado. O trabalho estrutura-se em três blocos: a primeira parte apresenta a cidade de Quebrangulo; a segunda constitui uma aproximação das casas que compõem o recorte proposto primeiramente através da literatura corrente sobre o assunto para então entender como estas edificações se apresentam em Quebrangulo; a terceira parte é um esforço de conhecer as casas por dentro para compreender suas dinâmicas. Adentra-se nos ambientes domésticos tal como eles vão sendo apresentados nas visitas guiadas pelos próprios moradores: salas, corredores, quartos, cozinhas e quintais. Há destaque para uma reflexão sobre como a religiosidade participa do habitar das casas em estudo.

The purpose of this thesis is to verify the effects of care of historical monuments and inhabitant´s sentiments, local government and the state administration to these questions and its effects on development of selected places. The result of this thesis is to propose a remedy for further development of studied territories of these regions.

O amor pela cidade e o interesse em conhecer a história de seus trabalhadores e de suas casas foi o que me motivou a fazer esta pesquisa. A formação dos bairros e a própria expansão urbana de Santo André têm fortes laços com o processo de migração de operários que vieram, principalmente, do interior de São Paulo e estados vizinhos, os quais buscavam aqui emprego e traziam consigo os costumes do campo para se adaptarem à nova vida na cidade. Assim, este trabalho se propõe a estudar as moradias urbanas de Santo André da primeira metade do século XX, enfocando a casa do trabalhador industrial, buscando traçar um panorama que permeia desde a produção da habitação e o espaço urbano ao seu entorno até os aspectos formais e funcionais da moradia, bem como sua organização e disposição interna. O trabalho também apresenta o resultado de uma pesquisa inédita feita em um material que se encontra arquivado no Museu de Santo André onde, através da análise de documentos e de processos de aprovação de residências entre os anos de 1929 e 1939, são estudados projetos arquitetônicos e memoriais descritivos originais de construções de residências, o que nos deu base para expor o que chamamos aqui de arquitetura popular que se configurou em toda a cidade, dentro e fora do espaço da casa. / The love by city and interest about knowing the history of its workers and their houses has motivated me to do this research. The neighborhoods formation and Santo André urban expansion itself have strong links with the migration of workers who came especially from São Paulo country side and neighbor states, witch looked for job and brought with them costumes from the country side to adapt to the new city life. So, this work proposes to study Santo André urban houses from the beginning of the twentieth century, focusing in the industrial worker house, trying to trace a panorama that ranges since the habitation production and surrounding urban space until its formal aspects, organization and interior disposal as well. This work also presents the result of an unedited research done with a material kept in Santo André Museum in which, trough documents and houses approval process between 1929 and 1939, architecture projects and original descriptive memorials of houses constructions are studied, what gave us base to expose what we call popular architecture, that has been configured in entire city, inside and outside the house space.

Abstract In my study of architecture, I have surveyed the interior of the apartment from the perspective of colouration, in Finland from 1948 to 1955. My study comprised traditionally considered high-cultured architecture — legitimate architecture — and architecture representing the everyday, which does not have the status of legitimate architecture. My research into this subject adopted a material based approach, with qualitative research methods and applied with a theory-guided content analysis. The periodicals Arkkitehti and Kaunis Koti formed the central content of my study, representing legitimate and popular architecture from the post-war reconstruction period. On the basis of this material, I compiled a depiction of the colouration of the home during the postwar reconstruction period. In addition, I studied the use of colours in legitimate and popular architecture during that period. There has been no previous systematic depiction of the interiors of the home in Finland. The presupposition of my study was that during the post-war reconstruction period, the colour preferences of architects and the general public neared. During the post-war reconstruction period, the attention of most architects was directed towards the living conditions and needs of the general public. The primary focus of architects was in housing. This was due to the large number of homeless people requiring housing after the war. From the basis of functionalism, the discourse on the social content of architecture created the foundation for building planning during the post-war reconstruction period. In the material examined in this study, colour was identified with happiness. Nature connected the Finnish people. Even in the urban setting, the experience of nature was considered important. The multihued greenery of the window shelf present in almost every living room was one display of "the living spirit" of nature brought into the urban apartment. During the post-war reconstruction period, colouration of interiors was not homogenous. The composition of the colouration, and the ways in which colour were used, changed according to the room type. The over-arching concept in the colouration of the rooms was that of a purposeful aesthetic. The changes were connected with the development phase of the room type, its contents, as well as the importance of the space in comparison to the entirety of spaces in the apartment. In addition to the colouration change between room types, some of the apartment furnishings and their colouration changed noticeably during the post-war reconstruction period. The importance of good taste was also emphasised in different ways in different room types. In the colouration of older, established room types issues of good taste were often raised, and the interior was constructed on the basis of critique of previous interior design colourations. In connection with newer room types, such as the kitchen and the children's room, a purposeful aesthetic was at the forefront and good taste was hardly talked about, since colouration was not given as a value in relation to what had come before. Dissymmetry of colouration was common for all home interiors. The dissymmetry was derived from the modernity principle of embracing the new and forbidding the traditional. Personal observations in the use of associative and dissociative names for colours, displays Bourdieu's conception of good taste, represented in the formation of legitimate taste and popular taste. However, the criticism of Shusterman displays well, that this is a definition derived from high-culture, which is already value-ridden. The romantic period during the post-war reconstruction period, the content of which is understandable also from a popular viewpoint, showed clearly in the works of the architects. For many architects, the period remained short. From the perspective of Bourdieu, it can be thought that legitimate taste had for a moment neared popular taste. The "blue flower of romantic thought" did not blossom for long and the taste representing legitimate, rational thought regained its position. According to my supposition, the taste of popular and high-culture had nonetheless, momentarily neared. / Tiivistelmä Arkkitehtuurin alaan kuuluvassa tutkimuksessani, tarkastelen asunnon sisustusta värityksen näkökulmasta Suomessa vuosina 1948—1955. Tarkastelussani rinnakkain ovat perinteisesti korkeakulttuurina pidetty rakennustaide, legitiimi arkkitehtuuri, ja arjen käytäntöjä edustava arkkitehtuuri, jolla ei ole legitiimin arkkitehtuurin statusta. Tarkastelen tutkimusaihettani aineistolähtöisesti laadullisen tutkimuksen keinoin teoriasidonnaisen sisällönanalyysin avulla. Arkkitehti-lehti ja Kaunis koti -lehti muodostavat tutkimukseni keskeisen aineiston jälleenrakennuskauden legitiimin ja populaarin arkkitehtuurin ilmentäjinä. Tutkimuksessani kokoan aineistoon perustuvan kuvauksen jälleenrakennuskauden kodin värityksestä sekä tutkin tuon ajan legitiimin ja populaarin arkkitehtuurin värinkäyttöä. Kodin tilojen värityksestä ei ole aiemmin laadittu systemaattista kuvausta Suomessa. Tutkimukseni esioletuksena oli, että jälleenrakennuskaudella arkkitehtien ja suuren yleisön kodin värinkäyttöön liittyvät mieltymykset olivat lähellä toisiaan. Jälleenrakennuskaudella arkkitehtikunnan huomio oli kohdentunut suuren yleisön elinoloihin ja tarpeisiin. Arkkitehtikunnan suunnittelutehtävän painopiste oli asuntotuotannossa, sillä suuri määrä sodan jälkeen kodittomiksi jääneitä oli asutettava. Funktionalismin pohjalta käyty keskustelu arkkitehtuurin sosiaalisesta sisällöstä loi pohjaa jälleenrakennuskauden asuntosuunnittelulle. Aineistossani väri vertautui iloisuuteen. Luonto yhdisti suomalaisia. Kaupunkiympäristössäkin luontokokemusta pidettiin tärkeänä. Kodin sisustuksessa lähes poikkeuksetta esiintynyt olohuoneen kukkaikkuna oli yksi osoitus kaupunkiasuntoon tuodusta luonnon "elävästä hengestä". Jälleenrakennuskauden kodin sisustuksen väritys oli epäyhtenäinen. Värityksen sisällöt ja tavat käyttää väriä vaihtelivat huonetyypeittäin. Yhdistävänä yläkäsitteenä huonetilojen värityksessä oli tarkoituksenmukaisuuden estetiikka. Vaihtelut liittyivät huonetyypin kehitysvaiheeseen ja sisältöihin sekä tilalle annettuun painoarvoon asunnon huonetilojen kokonaisuudessa. Huonetyypin värityksen keskinäisen vaihtelun lisäksi osa kodin tilojen sisustuksista ja niiden värityksistä muuttui selvästi jälleenrakennuskauden kuluessa. Myös hyvän maun merkitystä korostettiin eri tavoin eri huonetyypeissä. Vanhempien, jo vakiintuneiden huonetyyppien sisustuksen värityksessä hyvä maku otettiin usein esiin ja hyvän maun mukainen sisutus rakentui aiempien sisustustyylien värityksen kritiikin kautta. Uudempien huonetyyppien, kuten keittiön ja lastenhuoneen, yhteydessä tarkoituksenmukaisuuden estetiikka oli etusijalla eikä hyvästä mausta puhuttu juuri lainkaan, sillä väritystä ei arvotettu suhteessa aiempaan. Värityksen epäsymmetrisyys oli yhteistä kaikille tarkastelemilleni kodin tilojen värityksille. Epäsymmetria ilmensi moderniteettiin sisältyvää ajatusta uudesta ja tradition kieltämisestä. Havaintoni assosiatiivisten ja ei-assosiatiivisten värinnimitysten käytöstä havainnollistaa Bourdieun ajatusta hyvää makua edustavan legitiimin maun ja populaarin maun muodostumisesta. Shustermanin kritiikki tuo kuitenkin hyvin esiin korkeakulttuurin piiristä lähtevän määritelmän, joka jo lähtökohtaisesti on arvovarautunut. Jälleenrakennuskauden romanttinen ajanjakso, jonka sisällöt olivat ymmärrettäviä myös populaarin näkökulmasta, näkyi selvästi arkkitehtien tuotannossa. Jakso jäi monen arkkitehdin kohdalla lyhytaikaiseksi. Bourdieu'n näkökulmasta voi ajatella, että legitiimi maku oli hetkellisesti lähentynyt populaaria makua. Jälkikäteen katsottuna arkkitehdit ovat tulkinneet maun rämettyneen väliaikaisesti. "Romantiikan sininen kukka" ei kovin pitkään ehtinyt kukkia, ja legitiimiä rationaalia linjaa edustanut maku valtasi asemansa takaisin. Esioletukseni mukaisesti populaarin ja korkeakulttuurin maku olivat silti hetkellisesti lähentyneet toisiaan.